In considering performance in relation to the poetry of Felicia Hemans, my goal is to analyze several poems to illustrate both diversity and unity within Hemans’ processional record. The first issue I’d like to address is the performance of strength in The Switzer’s Wife. According to accompanying historical context, the poem focuses around the idea of a man being saved by the wisdom of his wife. The use of language relative to the moment of empowerment seems to demand a rethinking (and perhaps regendering) of strength. Hemans writes: “And she she, that ever thro’ her home had mov’d/With meek thoughtfulness and quiet smile/Of woman, calmly loving and belov’d/And timid in her happiness the while/Stood brightly forth and stedfastly, that hour/ Her clear glance kindling into sudden power,” (27). The language used describes the wife in terms of the domestic. She is also referred to in terms of gentleness, such as meek, timid, and calm. It seems to be from this that her power is generated, suggesting that strength exists in the realm of the domestic, and can even be fueled by it. This is certainly not to say that this type of domestic strength can only be enacted by women, or that women are in any way limited to the scope of such strength. However, this poem does seem to embody a feminine performance of power. In Imelda, Hemans draws attention to a far different performance of female strength. I would argue that this is embodied by Imelda’s death. Hemans writes “Woe for young love! But love is strong. There came/ Strength upon woman’s fragile heart and frame,/ There came swift courage! On the dewy ground/ She knelt, with all her dark hair floating round/ like a long, silken stole, she knelt and press’d/ Her lips of glowing life to Azzo’s breast/Drawing the poison forth…”(38). The language used her seems to suggest that Imelda transcends her “fragile heart and frame” through the willingness to die with her lover. Another element worth noting is the way that Hemans poetry serves to illustrate the conflicts and sufferings that are unique to the female experience. In The Bride of the Greek Isle’s early stanzas, Hemans spends a lot of time developing the pain felt by Eudora in contrast to the joy one might normally associate with an event like a wedding. This suggests a perspective of the experience that is not only uniquely female, but uniquely “bridal.” One thing I’m also considering in relation to these poems is the performative possibility(ies), and if/how an aural and otherwise “sensuous”experience of the poems might further develop the points raised. Performance theory is not an area of strength for me, so I’m sure that I’m missing many points that might offer the opportunity for deeper analysis. However, on a basic level, I find it interesting to consider the ways in which live performance can enhance or elevate a poem. As a slam poet, this is something I’m constantly considering. In addition, I think that there is some validity to the idea that some poems are more “performative” than others. Although responses are varied and subjective, some poems may consistently and widely create different experiences when heard vs. read. In considering the issues I’ve discussed relevant to Hemans’s work, I’m inclined to think that the emotions and tensions would gain much in live performance. Many of her poems from Records of Woman are deeply personal in their perspectives, while drawing attention to common experiential threads.
ENGL864
6/12/14
In considering performance in relation to the poetry of Felicia Hemans, my goal is to analyze several poems to illustrate both diversity and unity within Hemans’ processional record.
The first issue I’d like to address is the performance of strength in The Switzer’s Wife. According to accompanying historical context, the poem focuses around the idea of a man being saved by the wisdom of his wife. The use of language relative to the moment of empowerment seems to demand a rethinking (and perhaps regendering) of strength. Hemans writes: “And she she, that ever thro’ her home had mov’d/With meek thoughtfulness and quiet smile/Of woman, calmly loving and belov’d/And timid in her happiness the while/Stood brightly forth and stedfastly, that hour/ Her clear glance kindling into sudden power,” (27). The language used describes the wife in terms of the domestic. She is also referred to in terms of gentleness, such as meek, timid, and calm. It seems to be from this that her power is generated, suggesting that strength exists in the realm of the domestic, and can even be fueled by it. This is certainly not to say that this type of domestic strength can only be enacted by women, or that women are in any way limited to the scope of such strength. However, this poem does seem to embody a feminine performance of power.
In Imelda, Hemans draws attention to a far different performance of female strength. I would argue that this is embodied by Imelda’s death. Hemans writes “Woe for young love! But love is strong. There came/ Strength upon woman’s fragile heart and frame,/ There came swift courage! On the dewy ground/ She knelt, with all her dark hair floating round/ like a long, silken stole, she knelt and press’d/ Her lips of glowing life to Azzo’s breast/Drawing the poison forth…”(38). The language used her seems to suggest that Imelda transcends her “fragile heart and frame” through the willingness to die with her lover.
Another element worth noting is the way that Hemans poetry serves to illustrate the conflicts and sufferings that are unique to the female experience. In The Bride of the Greek Isle’s early stanzas, Hemans spends a lot of time developing the pain felt by Eudora in contrast to the joy one might normally associate with an event like a wedding. This suggests a perspective of the experience that is not only uniquely female, but uniquely “bridal.”
One thing I’m also considering in relation to these poems is the performative possibility(ies), and if/how an aural and otherwise “sensuous”experience of the poems might further develop the points raised. Performance theory is not an area of strength for me, so I’m sure that I’m missing many points that might offer the opportunity for deeper analysis. However, on a basic level, I find it interesting to consider the ways in which live performance can enhance or elevate a poem. As a slam poet, this is something I’m constantly considering. In addition, I think that there is some validity to the idea that some poems are more “performative” than others. Although responses are varied and subjective, some poems may consistently and widely create different experiences when heard vs. read. In considering the issues I’ve discussed relevant to Hemans’s work, I’m inclined to think that the emotions and tensions would gain much in live performance. Many of her poems from Records of Woman are deeply personal in their perspectives, while drawing attention to common experiential threads.